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S 1 I ! I 

I [ I 1 


N UMB E R 2 



Peter Schuhle 
Loxstedt, Germany 

Last Christmas I had to clear out the attic room to have 
new beams put into the roof. This room holds my 
collection of pop-up books and this meant emptying quite 
a few bookshelves to get ready for the builders. At the very 
back of one shelf I came across a box full of letters, cards 
and various papers. Most of them had been given to me in 
1994 by Thomas Fischer-Stumm, a designer who had 
written his diploma project on paper engineering. 

Of course I was side-tracked away from the task in 
hand; I just could not resist the temptation to take a closer 
look at the contents of the box. Rummaging through 
photocopies of patents for movable and pop-up books, one 
looked particularly interesting: a certain Lothar Stanetzki 
had been granted a patent in 1948 for a picture book. The 
introduction to the patent states: "Patent 809 1 62 protects 
picture books or similar products where the figures or 
parts thereof portrayed on the individual pages are 
arranged so that they can be moved and so that they are 
connected to a pull-tab which enables them to be moved. 
The invention refers to some technical details, which are 

3M Mend? 

Die Vogelhochzeit 

essential for the production of the books, the smooth and 
efficient functioning of the mechanism and also their 
durability. I was intrigued. Who was Lothar Stanetzki, 
how did he come to construct these books and what made 
him apply to have his invention patented in the first place? 
Did the patent disappear in the archives like so many 

Continued on page 10 

John Strejan, 1998 

Los Angeles Movable Book 

Society Conference 

John Joseph Strejan, 1933 - 2003 

Waldo Hunt 

Los Angeles, California 

John Strejan 
died of cancer on 
March 26, 2003. 
He was 70 years 

John, known 
world-wide by his 
moniker, passes 
skills to the young 
paper engineers of 
the dimensional 
book trade. He 
was considered by 
many as one of 

the world's best paper engineers, as well as being a first 
class designer and illustrator. 

John was born in Detroit, on March 7, 1933. He attended 
Portland State University in Oregon. John started his 
creative career in preparing ads for Viewmaster and White 
Stag in Oregon and at Carnation, Convair, and Max Factor 
when he came to Los Angeles in 1958. 

At the Elgin Davis Art Studio in Los Angeles, John 
worked on his first dimensional projects. Elgin Davis was a 
founder of Graphics International; a packaging company 
that created a new line of pop-up books in the late '60s 
which required hand assembly. 

John worked freelance for Graphics International in New 
York and Kansas City from 1965-1973. The company 
returned to Los Angeles in 1974 and became Intervisual 
Books. John's outstanding paper-engineering talent was 
demonstrated on the famous National Geographic classic 
series of pop-up animal books that were published from 
1987-1989. The National Geographic dinosaur book alone 
had 200 glue points. The book series was purchased by 13 
international publishers and today is recognized as the best 
quality interactive line ever published. 

Continued on page 2 

The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of the 
Movable Book Society. Letters and articles from members 
on relevant subjects are welcome. The annual membership 
fee for the society is $20.00. For more information 
contact: Ann Montanaro, Movable Book Society, P.O. Box 
1 1654, New Brunswick, New Jersey 08906 USA. 

Daytime telephone: 732-445-5896 

Evening telephone: 732-247-6071 


Fax: 732-445-5888 

The deadline for the next issue is August 15. 

John Strejan, continued from page 1 

A few of the other 3-dimensional books to which John 
Strejan contributed his talents are Charles M. Schultz's 
Snoopy and the Twelve Days of Christmas published by 
Determined Publications in 1984, The Pop-up Book of 
Gnomes by Harry N. Abrams, which published over 
600,000 copies worldwide in 1982, and the Choo-Choo 
Charlie Playset by Piggy Toes Press, which has published 
over 500,000 copies since 1998. 

A celebration of life for John Strejan was held on 
Saturday, April 19. John's loving wife Patricia and his six 
daughters request that in lieu of flowers, please send 
donations to the Ronald McDonald House, 4560 Fountain 
Ave., Los Angeles, California 90029 "In Memory of John 

Books by John Strejan 

(Designer, Illustrator, Paper Engineer) 

Aladdin and the Magic Lamp. [198-?]. 

Alice in Wonderland. [1991]. 

Alice's Adventures in Wonderland. 1980. 

All Kinds of Cats. [197-?], 1976, 1981. 

The Alphabet Book. 1977. 

Amazing Monkeys. 1985. 

Animal Homes. 1989. 

Animals in Disguise. 1985. 

Animals Showing Off 1988. 

Baby Jesus. 1980. 

The Bad Child's Pop-up Book of Beasts. [1987]. 

Beauty and the Beast. 1991. 

Cinderella. [197-?]. [198-?]. 

Creatures of Long Ago: Dinosaurs. 1988. 

Creatures of the Desert World. 1987. 

Daniel and the Lions' Den. [197-?]. 

David and Goliath. [197-?]. 

Dinosaurs. [1979], [1982], [1987]. 

Discovering Our Past. 1986. 

Early Humans. 1988. 

Explore a Tropical Forest. 1989. 

Exploring the Solar System. 1986. 

Facts of Life. 1984. 

The Faeries. 1980. 

Fun on the Farm. [198-?], 1986, 1976. 

God Loves You. 1996. 

The Good Samaritan. [197-?], 1978. 

Goodnight Moon. 1984. 

Hansel and Gretel. 1979. 

Hide and Seek. 1985. 

The Honeybee and the Robber. 1981. 

How the Weather Works. 1984. 

Hungry Little Chimpanzee. 1982. 

I Love to Eat Bugs! 1992, 1997. 

If You had Been in Bethlehem. 1977. 

Insects: A Close-up Look. 1984. 

J. M. Barrie's Peter Pan. 1983. 

Jonah and the Whale. 1978. 

Joseph's Dream Comes True. [197-?]. 

Leonardo da Vinci. 1984. 

The Life of Moses. [197-?]. 

Little Choo-Choo's Runaway Adventure. 1985, 1986. 

Little Lamb. 1980. 

Little Red Riding Hood. 1979. 

The Maxfield Parrish Pop-up Book. 1994. 

Michael Hague's World of Unicorns. 1986. 

Monster Island. 1981. 

Naughty Nineties. 1982. 

The Night Before Christmas. 1981. 

Noah's Animal Boat. [197-?]. 

Peter and the Wolf. 1985. 

The Pop-up Animal Fair. [197-?]. 

The Pop-up Book of Gnomes. 1979. 

The Pop-up Book ofM. C. Escher. 1991. 

Puppies. 1994. 

Sailing Ships. 1984, 1997. 

The Shoemaker and the Elves. 1979. 

Skyscraper Going Up. 1987. 

The Sleeping Beauty. 1979. 

Snoopy and the Twelve Days of Christmas. 1984. 

Snow White. [197-?]. 

Space Mission. 1982. 

Stan Lee Presents the Amazing Spider-. . . 1980, 1982, 1983. 

Stan Lee Presents the Incredible Hulk . . . 1980, 1983. 

The Story of Jonah. [197-?]. 

The Story of Moses. 1979. 

The Story of Noah. [1979], 1980, [199-?]. 

Strange Animals of the sea. 1987. 

Teenage Mutant Ninja turtles. 1990. 

Underwater Mission. 1982. 

What Happens Next? [197-?]. 

What Lives in the Sea? 1985. 

The Wizard of Oz. [198-?], 1980. 

The World's First Ever Pop-up Games Book 1982. 

From An Educator's Perspective ... 
Amy Laslow 
Dover, Delaware 

Covered in paper scraps and Post-It Notes from my 
travels to Milwaukee, I am glad to report that my students 
and I have been supporting the economy, yet sadly 
contributing to the deforestation of our precious trees! 
Stock in 3M and Hammermill as well as overall paper 
consumption has reached an all-time high for the students 
of Dover Air Middle School. Emerging as the next 
generation of movable book artists, sixth, seventh and 
eighth grade scholars have been producing flexagons, 
tunnel books, movable and interactive structures, pop-ups, 
etc. Addressing math, science and technology concepts, 
the students have also learned about economics and 
environmental issues in their paper usage! 

In all sincerity though, words simply cannot express 
my delight for the Movable Book Conference held in 
Milwaukee, Wisconsin during September, 2002 and my 
admiration for the many members that welcomed a 
newcomer. As a teacher of Visual Art and Technology 
Education in addition to being a curriculum developer for 
several National Science Foundation grant projects, every 
session offered yet another opportunity for inclusion into 
the classroom at multiple grade levels. Ideas jotted onto 
napkins and scraps of paper from the conference sessions 
migrated to Delaware where my Post-It Notes began 
generating sticky-notes of their own until a rainbow of 
ideas for interdisciplinary studies graced the walls of both 
my home office and classroom. 

It all 

began during 
an early 
session held 
at the Eisner 
M u s u e m 
where I 
books that 
my eighth 
students had 

last year; several of my students were presented with the 
task of creating a diorama of A Christinas Carol for their 
English class. Rather than make the traditional shoebox 
decorated with items depicting a particular scene from the 
play, these students wanted to incorporate paper 
engineering techniques acquired in my classes. The result 
was a hand bound and illustrated carousel book. 

Upon returning to Delaware, I shared the viewers comments 
and admiration for their works of art ... among those 
pausing from a break to photograph and further inspect these 
creations was none other than Robert Sabuda! "In fact," I 
told the students "a picture of your books is on his web site!" 
They were quite thrilled ... holding The Wizard of Oz by 
Robert Sabuda, one student replied "And HE thinks our stuff 
was cool - AWESOME!" 

I soon met others, many whose names escape me, but 
not their well wishes. They delighted in knowing that 
children were being exposed to the mechanics of paper 
engineered structures and pop-ups as well as the who, what, 
where, when and how(s) of movable books. Emily Martin, 
who presented the topic of her artists' books, kindly 
constructed a linear flexagon sample for me using the 
stationery from her hotel to demonstrate a quick and easy 
way for kids (as well as adults) to produce an interactive 
book. Edward Hutchins later shared his thoughts and 
recommendations for constructing tunnel books; a much 
improved way of operation! And, I even had an opportunity 
to speak with Waldo Hunt about his collection at the Los 
Angeles Public Library exhibit. 

The past few months have been a whirlwind for both my 
students and me. We have explored all types of flexagons, 
tunnel books and mechanized structures. As a culminating 
activity for the study of the Holocaust and The Diary of Anne 
Frank, my students produced mechanized diaries depicting 
their lives if lived during the Holocaust. We currently await 
word for their display at the National Holocaust Memorial 
Museum in Washington, D. C. My students and I have 
shared our experiences with other schools within our district, 
teaching teachers and students about movable books and 
how a childhood folio can be incorporated into just about 
every aspect of education. Yes, Milwaukee will forever hold 
special memories, but just long enough until the next 
conference meeting. Thank you to the MBS for welcoming 
me (and the students of Dover Air) into your fascinating 
world and to Ann Montanaro who encouraged me to share 
my observations. Until we meet again, keep on movin'! 

Paper Art & Paper Engineering 

Veronica T. Chiang 

I had been resisting the temptation to curate an exhibit 
of pop-up books for several years simply because the 
pleasure of being surprised by each pop-up action is 
inevitably lost in a static environment. Encouraged by my 
friend, Linda Herman, who owns a collection of more than 
1,400 pop-up, movable, and a variety of shaped and 
activity books, I promised to give it a try. 

I set out to search for solutions, not to invent a turn- 
page machine for each book, but to seduce the viewer to 
see each opened page as an intriguing 3-D sculpture in an 
art gallery environment, with or without the motion 
element. At the same time, the contents of the exhibit 
must be further developed and enriched with a variety of 
other artworks created with paper in order to raise the 
audience's level of awareness and appreciation of paper as 
one of the most adaptive (hospitable) art medium. 
Hopefully, the impact of the creativity evident in each 
piece of work would drive home the complicated team 
work required in the making of a pop-up book. And 
therefore, the importance of paper engineering, a factor 
being critical to the success of the publication. 

To create an environment with an attractive and 
pleasant atmosphere to welcome audiences at all levels 
was another goal and challenge. On a campus of more 
than 32,000 students along with over 3,700 faculty and 
staff, plus community members, we receive audiences 
ranging from top art experts to kindergarteners. 

Fortunately, we have two fairly well equipped galleries 
(twin) located under the atrium between the south and 
north buildings of the university library at Cal State 
University, Fullerton. Therefore I was able to devote the 
whole west wing to paper engineering while the east wing 
housed other paper art - organic "paper ceramic" 
sculptures, unusual origami work by international artists, 
religious paper folk art, as well as background information 
and paper-related artifacts from pre-paper era. 

After examining many important publications on the 
subject, the preliminary selection was to cover as many 
types of technique and subject as possible - many more 
than needed to allow flexibility in visual presentation and 
space adjustment. For installation, the goal was to give 
each book a distinctive look in a clean surrounding, and to 
avoid any type of shelves to line up books one after 
another. In order to avoid overcrowding the space and 
blunting visual impact, only approximately 100 ground 
breaking and unusual books are shown. 

A good portion of the books were mounted on white wall, 
locked in 45-foot long glass panels. Each book was equipped 
with a custom made copper wire hanger, strong enough to 
hold the page open and flexible enough for adjustment at the 
time of installation. Each 360° book sat on a black pedestal 
with one left unlocked for close examination. In between the 
pop-ups, a section was devoted to a group of rare silhouettes 
selected from the David Alexander Collection. Close to the 
floor level, a single page, roughly 40-foot long book, 
Butterflies in Flight, ran through the glass wall case. 
(Accordingly, that is the longest single page book in 
publishing history.) 

In the center of the gallery, large locked pedestals with 
clear acrylic tops showed different groups of creative book 
and card designs. A tall triangle acrylic wall case was built 
to exhibit a German made, articulated full size skeleton with 
name on each single bone that took almost 20 hours to 
assemble. Next to it, a life size model from Dimensional 
Man presented the 3-D anatomy. David A. Carter's The 
Elements of Pop-up was mounted on a special stand and 
opened for the audience to interact and to learn. An 
enlargement of Ann Montanaro's excellent article 
introducing pop-up and movable books was mounted on a 
wall. To provide a little hands-on experience, the exhibit 
announcement was designed as a pop-up card and audience 
can fold and pop it up. 

From the psychological aspect, the viewer's flow of 
emotional response with each work played an important role 
in an exhibition, making the order of arrangement and 
spacing the works another dimension of the job. Since pop- 
up books are part of the childhood experience for so many, 
we created an atmosphere alluded to the memory by flying 
a 20-foot long dragon kite in mid-air and a couple more 
smaller ones toward the end of the gallery. In the front room 
facing the entrance, inside the glass wall stood two large 
papier-mache brown bears in conversation, holding several 
small size pop-ups. 

nil i LIIM.V 



In conclusion, I must confess 
that it is more for my personal 
satisfaction that I drafted the 
rough idea for my two assistants 
to create prototypes of a book 
opener. One version created with 
multiple springs and pulleys 
came into being, though not 
perfect. We made two of them, 
one for Greg Hildebrandt's Book 
of Three-dimensional Dragons 
and the other for James R. Diaz's 
The Ultimate Bug Book. The 
audience had a little surprise and interaction by pulling a 
handle of the book opener extended out between glass 

Pop-up Books Proudly Presented: 
From the Collection of Marci Blatt 
Marci Blatt 
Indio, California 

It all began two years ago when good friend and fellow 
pop-up collector, Wilbur Daniels, who is a librarian at the 
Rancho Mirage Library a few miles away from my home 
in Indio, California, suggested that I contact the library 
director about mounting a display of some of my pop-ups. 
I followed his advice, made an appointment with Tom 
Johnson and then wowed Tom with some of the books I 
took in for his perusal. He apparently had no idea that 
pop-ups could be as complex, informative and beautiful as 
they are, and after seeing mine, he immediately wanted to 
do an exhibit. The library has some locked-cabinet display 
shelves in its entry, but space in them is so popular that he 
must schedule two years in advance, each exhibit lasting 
two months. My books were to appear March and April, 
2003. A few weeks before the display was to be put in 
place I began to set aside those books I thought would 
appeal to the ages and backgrounds of the people who 
would be viewing them, keeping in mind the exhibit 
space: four contiguous cabinets with two adjustable glass 
shelves, each measuring 42" wide x 21 "deep. Measuring 
off those proportions on several surfaces around my home, 
I set up the books, satisfied myself that they would 
properly fit the spaces, and then packed them in boxes. 

Finally, the day arrived to mount the exhibit. Because 
the shelves were at eye level and above, it was necessary 
to prop up the books for proper viewing. This I did using 
both wrought iron and plastic book holders. I found that 
nylon fishing line worked beautifully to secure the spread 
in each book which I wanted to feature. There was shelf- 
space for 24 books. Those that I had selected ranged in 
size from David Pelham's hamburger-shaped-and-sized 
book, The Sensational Samburger to Renee Jablow's 
carousel, A Victorian Doll House, 39 cm. tall. 

For those who love the 
desert area in which the 
library is located, I chose 
National Geographic's 
Creatures of the Desert 
World- the first spread with 
its spiny saguaro cactus; 
Scientific American Books' 
In the Air and Everywhere - 
the desert birds section; and, 
since dinosaurs look so 
much like the desert's ubiquitous lizards, I included James 
Roger Diaz's, Dinosaur Babies - the first spread with a 
baby emerging from his shell, and Rodger Smith's James 
Gurney 's Dinotopia - the spread with an Apatosarus and 
a Tyrannosaurus Rex. Weather, always a topic of 

conversation here, was addressed with Ron Van der Meer's 
The Earth Pack - "Winds and Storms" pages, as well as Tor 
Lokvig's Weather, a National Geographic Action Book - the 
"Precipitation" spread with its cluster of snowflakes. Paul 
Wilgress' The Weather Pop-up Book I included because I 
wanted to feature its dome-shaped globe, to me an intriguing 
aspect of pop-up configurations. The three books that 
elicited the most enthusiastic comments from viewers were 
Strejan and Diaz' Alice's Adventures in Wonderland - the 
flying deck of cards; Keith Finch's Frank Lloyd Wright in 
Pop-up - the Guggenheim Museum; and Robert Sabuda's 
The Wonderful Wizard ofOz (the lights in the display cases 
brought out the iridescence of the holographic foil used on 
the Emerald City, creating a glowing, ever-changing image.) 
To represent the beauty of nature, I added Vicki Teague- 
Cooper's Nature by the Numbers - the dragon flies and 
butterflies; Frances Jones' Nature 's Deadly Creatures - "The 
Scorpion Fish"; James Roger Diaz' The Ultimate Bug Book - 
the last spread, "Staying Alive"; and Sabuda and Reinhart's 

Young Naturalist's Pop-up 
Handbook - Butterflies - the 
last page, "Diversity." And, 
for my own form of diversity 
I included spreads from 
David Hawcock's Action 
Robots, Andrew Baron and 
Sally Blakemore's Circus!, 
Keith Moseley's Classic 
Motorcycles in 3 
Dimensions, Dick Dudley's 
Looking Into the Middle 
Ages, David Hawcock's The 
New York Pop-up Book, 
Wayne Kalama's Six Blind 
Men and the Elephant, Kees Moerbeek and Carla Dijs' 
When the Wild Pirates Go Sailing, and The Templar 
Company's carousel, The Zoo. 

In front of each book I placed a small stand-up label 
giving all pertinent information such as title, date, publisher, 
paper-engineer, etc. I also printed on attractive paper a very 
brief history of pop-up books, as well as a paragraph 
describing my own interest in collecting them. These I 
displayed in stand-up plastic holders. 

The exhibit was 
delightfully colorful and eye- 
catching, and the few times I 
went to the library to check 
on it, strangers would stop 
me, often raving about how 
fascinated they were by the 
books and wanting to know 
more about them. Friends 
frequently called or cornered 
me to say how much they'd 

jSffaSS enjoyed seeing the pop-ups. 
SiJ^ One friend at the nature park 
where we both volunteer was 
overheard telling everyone 
who would listen, "You've 
got to get over to the Rancho 
Mirage Library to see 
Marci's exhibit. Those pop- 
up books are absolutely 
astounding!" The whole 
experience was great fun. 
Everyone's reaction has been 
surprise, enthusiasm, and 
curiosity, and I couldn't ask for more. But there has been 
more. As a spin-off from the display, I've been invited to 
give talks on the collection to several clubs and groups. 
And I was interviewed/photographed for an article in our 
local newspaper. All these are good opportunities to 
spread the word about the wonderful world of pop-up 

Questions and Answers 

Q. In Helen Younger's most recent catalog (Aleph Bet 
Books), she offers a Talking Mother Goose Novelty Book, 
published in 1940 which has black metallic strips attached 
to the pages, but the board which is to be rubbed over that 
strip to create the voices is not present. I have emailed a 
few times with Helen asking about that book, and she 
informs me that although she has tried rubbing a metal- 
edged ruler as well as a plain wooden ruler across the 
metallic strips, she has not been able to activate the voices, 
and suspects that perhaps the original wooden strip may 
have had its own magnetic strip attached to it. 

I am wondering if anyone might have a copy, possibly 
with the original wooden stick or rod, and who would 
know whether that piece contains its own magnetized 
strip, or alternatively, if anyone who might have a copy of 
this book has been able to activate the voices by some 
substitute of the original wooden stick? 

Bettyrae Eisenstein 
Pasadena, California 

A. In the February issue it was reported that Stephen 
King's book The Girl Who Loved Tom Gordon would be 
issued as a pop-up. The book will be illustrated by Alan 
Dingman < 
html> and Kees Moerbeek will be the paper engineer. 

The architecture book of Anton Radevsky definitely 
will be published by Rizzoli/Universe as a large "pack" 
but not before 2004. It appears that Rizzoli wants to also 
include the Liebeskind design for Ground Zero. 

Theo Gielen 
The Netherlands 


Maria G. Pisano 
Plainsboro, New Jersey 

I have always been fascinated by masks and pop-ups. 
Masks have such a long history and uses - theater, carnival, 
ceremonial, medical, military, etc. - their multiple 
incarnations seemingly endless. In my work I attempt to 
explore the human facade, striving to penetrate beyond the 
frontal, visible plane to create a world that questions the 
illusion. To date I have created four books where the mask 
or masks have been central to the theme of the work. The 
latest, Camouflage, is a pop-up carousel book containing a 
series of five masks. Originally, paste and marble papers 
were made, which were then collaged and the resulting 
design printed offset. Using these printed pages each spread 
in the book contains a pop-up mask made up of three 
interlocking layers, giving dimensions and depth to the 
work. The book speaks about not being lost in a sea of 
similar patterns, where the unique self still manages to 

Camouflage is an artists' book, case bound in dark green 
in an edition of 15, published by Memory Press, 2003. The 
board sheets were printed on an etching press, also in green. 
I designed, printed, and bound the book. For additional 
information, please contact me at 

"Five Centuries of Movable Books" 

150 selections from the Boston Public Library's rare 

books, the Jordan Children's Book Research Collection, 

and the collection of Lin Sasman. 

June 23 - September 5, 2003 

Monday - Friday 9:00 a.m. -5:00 p.m. 

For information contact 

The Popuplady's Top Ten "Favorites" 

Ellen Rubin 

Scarsdale, New York 

Oy vey! How does one do this? (While this is not 
Sophie's Choice, selecting the favorite items from my 
collection seems impossible.) So here I am taking a mental 
tour of my bookshelves. While the challenge is to list my 
three favorite books, no one before me has been able to 
name just three of theirs. I will follow the precedent and 
use the "wiggle room" to give my top ten choices. 

Let me first state my criteria for what a pop-up or 
movable book must have to "tickle my fancy." 

1. 1 measure the "success" of a book by whether or not the 
movable enhances the illustration or story line. As a take- 
off on the Chinese proverb "A picture is worth a thousand 
words," I say, "a movable illustration is worth a million 
words." If the movables are there gratuitously, my reaction 
is, "Ho hum, I'll pass" unless 

2. The book is a long-lost title from my childhood or one 
I missed. (There are woefully many.) Even if the movables 
are simple, I will include it in my collection. 

3. 1 love those books which are on a topic I would never 
have thought could be translated into a pop-up book, for 
example, Lest We Forget: The Passage from Africa to 
Slavery & Emancipation, Menopop, and the Pop-up Book 
of Phobias. Not all books selected this way are 
"successful" but they get a spot on my shelf. 

4. Has the paper engineer devised a unique movable? 
Admittedly, that's very hard to do. Whose "fancy" 
wouldn't be tickled by that accomplishment? 

5. Time to fess up. I'm a sucker for gimmicks. Mirrors, 
stereoptic or 3D glasses, holograms, Braille-text, 
removable parts, and the like-bring'em on. 

What I mostly love about movable books is that they 
require my participation. The more the book approaches 
a toy, the better I like it. I remember "clearly" in 1 st or 2 nd 
grade having to decide whether or not to reorder the 
children's magazine, Humpty Dumpty or "graduate" to 
Children 's Digest as most of my friends did. Withstanding 
the embarrassment of staying with the "baby" periodical, 
I opted for Humpty Dumpty. Why? Because Humpty 
Dumpty featured "stuff' to color, cut-out, paste and put 
together. The interactive quality of the magazine was what 
I loved best, and I didn't want to give it up for a magazine 
with more sophisticated stories. I was already a steady 
customer at the local library. 

So, with your indulgence, here is 
Favorite Movable Books:" 

'The Popuplady's Ten 

1. Vojtech Kubasta 

Forgive me - I cannot choose. After poring over my 
collection, there is no way for me to select one book, pop-up, 
illustration, or piece of ephemera. It's no cop-out. This 
exercise has taught me that it is the gestalt of Kubasta's 
work which makes him my favorite. Yes, the "Wow! Effect" 
certainly is there for the end - pops in the Panascopic series, 
and I love his ingenious yet simple movables. Yet, what 
captivates me is the loving innocence radiated by his people 
and animals-even devils, dragons and statues! - illustrated in 
saturated but bright colors. While his use of the deceptively 
simple concertina design coupled with the savvy cuts and 
folds attests to his genius, I think his overall joie de vivre 
draws me into a magical world. 

2. The Working Camera. By 

John Hedgecoe. Ron van der 
Meer and Mark Hiner, paper 
engineers; Harmony Books, 
Crown Publ., NY; 1986. 

This was one of the first 
books I bought when I started to 
collect and I come back to it 
often. Excitement is still 
generated when the camera 
(photography is a hobby of 
mine) pops-up in all its intricate 
detail. Using my fingertips, 
reach into a pocket on one 

spread to retrieve the various paper "photographic lights." 
After placing them on selected spots on the base page, I pull 
out from the spread's edge text and images which allow one 
to see the projected results of the lights' effects on a virtual 
photograph. It's all like some kind of adult "dollhouse" with 
my large hands moving small figures. 

S.Grand Theatre des Animaux Savants (Monkey theater). 
By Lothar Meggendorfer; Nouvelle Librairie de la Jeunesse, 
Paris; 1893. 

Why this one of all the others? Because of the spread 
with the monkey family at the dinner table. Move the tab 
and then stand back and yell, "FOOD FIGHT!!!" I laugh out 
loud each time I see it. Please see the animated food fight at 
my website: 
< html>. 

4. Cookie Count: A Tasty Pop-up. By Robert Sabuda; Little 
Simon, Simon & Schuster, NY; 1997. 

Cookie Count is like the Seder chant from the Passover 
Haggadah, Dayeinu! - it would have sufficed. How's that so, 
you ask? Dayeinu! Is a song where each stanza builds on the 

one before it and goes something like, "If G-d had brought 
us out of Egypt and not parted the Sea, Dayeinu! It would 

have sufficed." But, of 
course, G-d did much 
more. So it is with Cookie 
Count. If Robert had only 
made the most voluminous 
pop-up ever in the 
gingerbread house, it would 
have sufficed. I show it to 
schoolchildren who gasp as 
I quote Robert saying 
"getting a pop-up to stand 
up is one thing, but getting 
it to disappear into the 
book is quite another." Each pop-up is more dazzling than 
the next. My favorite is "2 coconut kisses to share" where 
the mice just keep coming and coming. Dayeinu! 

5. The Seven Ages of Man: William Shakespeare. By 

Maryline Poole Adams; Poole Press, Berkeley, CA; 1994 
Limited edition of 45. 

Again, tiny fingers are needed to maneuver this artist 
and miniature (3"x3") book. Seven Ages comes housed in 
a model of Shakespeare's Globe Theater. Open the doors 
to remove the tiny book and marvel at the realistic theater 
interior lining the inside. With dainty fingers, the tiny tabs 
are pulled to enliven each spread which shows our 
journey, in Shakespeare's words, from cradle to grave. 

6. The Pop-up Book of Phobias. By Gary Greenberg. 
Matthew Reinhart, paper engineer. Balvis Rubess, 
illustrator; Rob Weisbach Books, William Morrow and 
Co., NY; 1999. 

This is the one I use as an example of a "successful" 
book. The deceptively simple movables put the reader in 
the "skin" of the phobic. I wondered for months how a 
book about an emotion could be translated into a movable. 
Answer? "Simply and exceptionally well." 

7. Mirror, Mirror on the Wall-a Picture Story Book. 

Printed in the Netherlands, n.d. 1950s? 

So simple. The only movable is a cardboard cut-out of 
the queen looking in a real mirror on the cover. Pull down 
the vanity stool on which she sits and you can see her 
reflection in the mirror. Besides the wonderful watercolor 
illustrations, I love the reality of it. 

8. Tommy Tiger Who Was A Fraidy Cat-A Mother and 
Baby Book. By Rozelle Ross. Charles E. Bracker and Paul 
Kaloda,Illustrators; Maxton Publications, NY; 1945. 

I always show this series of books with a kangaroo, 
bear, and gorilla, because I can't help myself. On the 
animal-shaped cover, tucked into the crook of each sweet- 
faced mother's arm, is a removable baby animal with an 
easel back. I imagine a child being read the book while the 

baby animal stands apart to be admired or cradled in the 
child's arms. 

9. The Roly Poly series. Kees Moerbeek, paper engineer; 
Child's Play, Swindon, England; 2000. 

I have not gotten over the excitement I first felt when I 
came upon these books. Talk about the element of surprise 
inherent in its unfolding design and the sense of expanded 
time as it keeps unfolding. To think it took Kees 25 years to 
find an application for this new format! 


10. Wicked Willie Stand- 
up Comic or // Miglior 
Amico Dell'uomo (Italian 
for man's best friend). By 
Peter Mayle. Gray Jolliffe, 
illustrator. Italian-Index 
Kettering, England, 1991; 
English-Pan Books, 
London, 1996. 

There are snapshot 
moments you never forget. 
It was our last day in Positano, Italy, and I was about to go 
home with little in the way of pop-up books. Walking 
through the winding streets, we came upon a man in front of 
a newspaper shop laughing while reading. What else? It was 
"man's best friend." If you are unfamiliar with this book, 
let's say cartoon Willie is somewhat anatomically correct. 
Unfortunately the paper engineer is not credited, but he had 
used the movable format to its best advantage. How different 
from the insipid Kama Sutral And how utterly hypocritical 
that it was never published in the puritanical USA. 

Mea culpa! I have left out so many other "favorites" but 
an assignment is an assignment. And part of that assignment 
is to challenge another collector. You're it, Adie Pena! Good 
luck, kiddo!!! 

Catalogs Received 

Cattermole 20 th Century Children 's Books. Catalog 37.9880 
Fairmount Road, Newbury, Ohio 44065. 440-338-3253. 

Henry Sotheran Limited. Spring, 2003. "Children's and 
Illustrated Books." 2 Sackville St. Piccadilly, London W1X 
2DP. Phone: 0171 439 6151. Fax: 0171 434 2019. 

Jo Ann Reisler, Ltd. Catalogue 61. 360 Glyndon St., NE, 
Vienna VA. Phone:703-938-2967. Fax: 703-938-9057. 

Movable Reviews 
Marilyn Olin 
Livingston, New Jersey 






Rating: 4 

MENOPOP. By Kathy Kelly, Peter D. Straus, Kenwyn 
Dapo & Michelle Cohen. Ill: Peter D. Straus. Paper Eng.: 
Andrew Baron. Publisher: FilPer Up Productions, Inc. 
Pub. 2002 in USA. ISBN 0-9719095-0-4. $24.95. 23 14 x 
23 54 cm. 11 pgs. 5 large pop-ups, one two-sided wheel, 
numerous tabs, flaps, etc. A humorous look at menopause. 
Women, going through menopause, would love this book. 
The activities are funny and the illustrations are sure to 
make you laugh. Paper Eng.- One pop-up is complex, the 
rest fairly simple but well done. 

Rating: 4 

FACE TO FACE SAFARI. By Sally Hewitt. Ill: Chris 
Gilvan-Cartwright. Paper Eng.: Not given. Publisher: 
Harry N. Abrams. Pub. 2003 in USA. ISBN 0-8109-4261- 
5. $14.95. 30 x 2414 cm. 12 pgs. 6 large double spread 
pop-ups. Each double page in this book has a rhyme and 
a fabulous pop-up to identify the animal. Young children 
will adore this book. The illustrations are bright and 
wonderful. Paper Eng. -Pop-ups are somewhat complex. 

Rating: 3% 


Pienkowski. Asst. Illustrator: David Walser. Paper Eng.: 
Helen Balmer & Martin Taylor. Publisher: Candlewick 
Press. Pub. 2003 in USA. ISBN 0-7636-1991-4. $14.99. 
26 14 x 21 54 cm. 18 pgs. 3 pop-ups, one two-sided wheel, 
and numerous pull and lift tabs. This book illustrates the 
words of the title song which is about Noah's ark. While 
this is a well-done book, it is much simpler and sweeter 
than Jan Pienkowski's more complex work. Paper Eng.- 

Rating: ZVi 

Eng.: Not given. Publisher: Random House, Inc. Pub. 
2003 in USA. ISBN 0-375-82311-5. $6.99. 1414 X 1114 
cm. 12 pgs. 6 pop-ups. This is a mini-pop-up adaptation 
of a classic Dr. Seuss. The illustrations, rhymes and pop- 
ups all add to the joy. It is a delight and would be great to 
send to "kids" of any age. Paper Eng. -Simple. 

Rating: 4 

111.: Adapted from drawings by Edward Gorey. Packaging 
designed by Shannon Lemme & Barbara Brender. Paper 
Eng.: Not given. Publisher: Pomegranate Communications, 
Inc. Pub. 2003 in USA. ISBN 0-7649-2136-3. $21.95. 31 x 
21cm. There is a brief synopsis of the Broadway play and 
sets for the three acts of Dracula. Sets, cast and props are 
provided, all in black and white, of course. They are die-cut, 
scored and perforated. The adaptations of Gorey's drawings 
are as macabre as they should be. A must have for any Gorey 
fan. Paper Eng. -Simple. 

Rating: 4% 

MACY'S ON PARADE. Text, illustration, design & paper 
eng. by Pamela Pease. Consulting Paper Eng.: Andrew 
Baron. Consulting Editor: Harold Underdown. Publisher: 
Paintbox Press. Pub. in 2002 in USA. ISBN 0-9669433-2-5. 
$36.00. 2814 x 2814 cm. 14 pgs. 7 double spread pop-ups. A 
pop-up celebration of Macy's Thanksgiving Day Parade. The 
background and explanations about the parade are well 
done, but it is not necessary to read them to enjoy this book. 
There is a parade route map and confetti included so 
children of any age can join in. The pop-ups are great and 
the illustrations are delightful. My favorite pop-up is one in 
which you can pull a tab to make the Radio City Rockettes 
kick their feet. There is also a great pop-up of Santa's float. 
This is destined to become a classic. Paper Eng. -Some 
simple, some somewhat complex. 

Rating: 4% 

CIRCUS. Written by Chris Oxlade. Text and design: Big 
Fish. IlLMichael Sheehy. Paper Eng. and concept: Jay 
Young. Publisher: Big Fish, imprint of Chrysalis Books, 
London. Pub. in 2002 and distributed by Sterling Pub. Co., 
Inc. USA. ISBN 1-4027-0178-0. $19.95. 36 x 27 cm. 12 
pgs. 6 fascinating pop-ups operated by many tabs, and other 
mechanisms. Invisible bugs and ingenious acts explain in an 
exciting way many principles of light, gravity, friction, etc. 
Paper Eng. -Fascinating and somewhat complex. 

Rating: 4 

FLY AWAY HOME. By Jane Edgecombe & Stuart Martin. 
111.: Dudley Moseley. Production (Paper Eng.?): Leslie Krey 
& Mary Bjelobrk. Publisher: Glenn Johnstone, The Book 
Company Pty Ltd. Pub. 2002 in Australia. ISBN 174047152- 
0. $15.95. 2414 x 30 cm. 12 pages. 6 double spread pop-ups, 
1 pull-tab, 1 slide. The story, a take-off on the song, is well 
done, but this book is very special because of the wonderful, 
delightful illustrations by D. Moseley. The pop-ups are 
lovely and the final one of the Ladybird's house is 
spectacular. Paper Eng. -Somewhat complex, and one 

Rating: 5 

SECRETS OF THE SEA. By Jane Edgecombe. 111.: 
Christian Riese Lassen. Paper Eng.: Gavin Wolf & 
Stephen Ramsay. Publisher: Glenn Johnstone, The Book 
Company Pty Ltd. Published 2001 in Australia. ISBN 1- 
58805-080-7. 24 l / 2 x 30 cm. 14 pages. $15.95. 6 intricate 
double spread pop-ups. Since "Movable Reviews" has not 
been part of this bulletin for quite some time, I think this 
book should be reviewed, even though it was published in 
2001. It reminds me of the beautiful National Geographic 
pop-up books. The illustrations and the pop-ups of the 
world above and beneath the waves are magnificent and 
the book is a must-own for any collector. (This book is 
available on under Christian Riese Lassen's 
name.) Paper Eng.- Beautifully done and somewhat 

Rating: AVz 


By Iain Thomson. Pop-up artwork by Andrew Crowson, 
Paper Eng. : Keith Finch. Publisher: Thunder Bay Press, 
imprint of the Advantage Pub. Group. Published in 2002 
in the USA. ISBN 1-57145-690-2. $19.95. 32V4 x30'/2 cm. 
45 pages. 6 double spread pop-ups of F.L.Wright's 
designs. This book provides photos, plans and drawings 
as well as fragile pop-ups that have been written and paper 
engineered for adults.. While they are not always perfect 
they are complex and beautifully realized. Any collector 
will want it. Paper Eng.- Intricate, complex and fragile. 

Stanetzki want to invent mechanisms for movable books. His 
life story seems to suggest that it was neither market forces 
nor educational zeal. He was quite simply a problem solver 
and inventor by inclination. He applied himself to industrial 
invention as well as the construction of mechanical toys and 
movable books, indicating a broad approach and an 
enthusiasm for problem solving first and foremost. What 
becomes apparent from the sketchy information I have is 
that his background in engineering had equipped him with 
sound technical skills. To start with, all I had was one 
promising clue in my quest for more information on 
Stanetzki: in the publication of the unexamined application 
of the patent of 1951; Bonn was given as his place of 
residence. Contrary to my expectations the next step was 
immediately successful: his name was listed in the Bonn 
phone directory. I rang the number and Mrs. Stanetzki 
answered. She was very helpful and very knowledgeable 
about the history of the patent. Her husband, she told me, 
could no longer give any information. I was sorry to learn 
that after an injury to his spinal cord he now lives in a 
nursing home. 

Before the war Lothar Stanetzki had completed his 
studies in engineering in Berlin. In 1946 he returned to 
Bonn after being a prisoner of war in England. He worked 
at the Lemmerz Werke/factory in Bonn/Konigswinter - one 
of the world's largest producers of wheel rims, where he had 
invented a device to do with tires. However, the tubeless tire 
made his invention obsolete before he could develop it 
through to the production stage. 

Under Cover: Book Arts 

A National Slide-juried Exhibition 

Sponsored by the St. Louis Artists' Guild 

September 7 - October 23, 2003 

St. Louis, Missouri 

Serendipity, continued from page 1 

Maybe there were even books produced according to the 
method described in this patent? 

Lots of questions were popping up (pardon the pun)! 
Collectors like myself are bemused that he was granted a 
patent for something that already existed in print in many 
different forms. We all know that Meggendorfer invented 
and designed movables mainly before 1900, and that he 
never applied for a patent on his books. On the other 
hand, Julian Wehr, for example, also had his inventions 
patented in the United States in 1940, 1945, and 1947. 
(US Pats. 2 192 763, 2 384 661, 2 384 662, and 2 429 
335). I was also curious to find out what made Lothar 

We do not know when and why Lothar Stanetzki decided 
to work on animated picture books. We can assume that his 
background in engineering and his love of playful problem 
solving were the catalysts: as we can see when looking at his 
inventions and patents, he applied the technical know-how 
of an engineer not only to animated books but even more 
importantly to the construction of mechanical toys as well. 

Three of his inventions will serve as examples: 

A game (US Pat 2 791 065), where two players can move 
cars through streets or play ice hockey against each other, 
with the help of magnets underneath a gameboard which 
could be moved by operating a handle connected to a 
parallelogram lever system (the so-called Nuremberg 

A toy-robot, DUX-ASTROMAN (US Pat 3 128 575), 
which could walk, bend down to pick up objects and put 
them down. This robot is considered to be in the same league 
as a "Meggendorfer" by the collecting community; even 
modern re-prints of the original packaging have an asking 
price of $100 these days. 


Greeting cards with movable parts, which allowed flat 
presents (usually banknotes) to be hidden so that they 
could be "discovered" and retrieved from the card with the 
help of tabs (DE Pat 3 436 519). 

But back to the book: even before he was granted his 
patent, Lothar Stanetzki founded a publishing house, 
DALEMAR (DAs LEbende Marchen - The Living 
Fairytale) to exploit his invention commercially. In order 
to run a publishing house he first had to pass a publisher's 
exam required by the British military administration in 
Dusseldorf. The first written reference to the publishing 
house is the approval stamp "PASSED for publication" 
issued October 9, 1946 by the British "Publication Control 
Section" with a handwritten remark next to it reading: 
"2nd edition 100,000 copies." Thus the production of 
animated picture books (Spielbilderbiicher) started in 
Bonn, even before the monetary reform had begun. The 
books were printed in Cologne by Ziegler and Beckmann 
and in Wuppertal by Rudolf Glaudo. 

The printed sheets and die cuts were assembled and 
stitched together by hand in a shed in Bonn-Sankt 
Augustin. Part of the production was also done by home 
workers. Walter Puhl of Bonn had exclusive distribution 
and marketing rights. 

We can assume that business started well. This is 
indicated by the phenomenal print run of 1 00,000 books - 
and this at a time of severe paper shortages! DALEMAR 
was on the road to success with its popular titles. 

List of the books published by DALEMAR: (an excerpt 
from: "Der kleine Muck II," given by Frau Norzel) 

Hansel andGretel. anonymous. 6 pp. landscape. 1946. 

Das tapfere Schneiderlein. (The Brave Little Tailor), 
anonymous. 6 pp. landscape. 1947. 

Die Heinzelmdnnchen von Koln. (The Friendly 
Dwarfs/Goblins of/from Cologne) 
Wilhelm Barthauer. 6 pp. landscape. 1947. 

Die Vogelhochzeit. (The Bird's Wedding). Wilhelm 
Barthauer. 10 pp. landscape. 1947?. 

Max undMoritz. Der dritte Streich. (The Third Prank). 
Wilhelm Barthauer. 10 pp. landscape.1948. 

Muttis Tageswunsch. (Mother's Wish For the Day). Carl 
Hindrichs- Wagner. 10 pp. landscape. 1948. 

Max und Moritz. Der zweite Streich. (The Second 
Prank). Wilhelm Barthauer.10 pp. landscape.1948. 
Printed but pulped as result of copyright dispute, color 
copies of galleys exist. 

Derfreche Fritz. (Naughty Fritz). Alfred Lichter. 24 pp. 
landscape.1948. This last title is a picturebook without 

The animated books are printed on paper of about 
200gms in strong primary colors with rudimentary shading. 
The pages into which the movable parts were to be inserted 
were printed as double sheets, folded from the lower edge 
upwards; the movable parts were then assembled, and the 
open ends were stapled. Three such double sheets were then 
enfolded by a cover and also stapled into a slim book. This 
efficient way of production shows the engineer at work. The 
pull tab mechanism is identical in all the books. The two 
principal possible movements, pivotal or sliding, are shown 
in figure 1 of the patent. 

From the patent: "Fig. 1 shows a picture from the 
fairytale Hansel and Gretel. Behind the illustrated front 
sheet (a) there is a traction strip (b) protruding at one end as 
a tab. Through a slit (d) a picture section (e) depicting 
Hansel and Gretel is attached to this traction strip. In 

Zu der Patentschrift 809 162 
Kl. 77fGr30 05 

addition, by means of a short pin (f), the traction strip (b) 
catches the slit (g) of a pivotal lever (h) at the visible end of 
which shows the upper part of the witch. By pulling or 
pushing the tab (c) to move the traction strip (b) the image 
section showing Hansel and Gretel (e) is put into a linear 
motion, while the witch describes a swinging movement 
through the pivotal lever (h). The result is that the witch 


makes a nodding movement to lure Hansel and Gretel 
towards her, while these two alternate between moving 
towards and immediately away from the witch." 

As set out in the patent, these two movements are 
combined in the books, and the rotation allows a high 
degree of variation through a clever positioning of the 
pivotal point, so that the books never appear monotonous 
or boring. 

The illustrations in the patent and in Hansel and 
Gretel are by Stanetzki. Das tapfere Schneiderlein, Die 
Heinzelmdnnchen von Kbln " and Die Vogelhochzeit were 
illustrated by Wilhelm Barthauer from Braunschweig. 
Muttis Tageswunsch was illustrated by "utz." I received 
the following information about author Carl Hindrichs- 
Wagner from the archives of the Siidwestfunk (a radio 
station): "He wrote numerous short rhymes, called 
cautionary rhymes, for the children's program, at least in 
the years 1947 and 1948. They were broadcast at the 
beginning of the weekly program. Among them was a 
number referred to as "Muttis Tageswunsche" (what 
mother expects for the day). It might be of interest that 
Hindrichs-Wagner lived in Bonn in Herwarthstrasse in the 
years 1947/48." 

Wilhelm Barthauers series of "Max and Moritz" 
started with the Third Prank {Der dritte Streich). Only 
The Third Prank, followed by the unpublished Second 
Prank, were printed. Both follow the original Wilhelm 
Busch version step-by-step. On their back covers there are 
small illustrations of the other five pranks - an indication 
that the series was to be completed. But fate decreed 
otherwise. At that time, Munich publisher 
Braun&Schneider had extended their copyright on Busch 
and enforced it rigorously. The DALEMAR book Max and 
Moritz - The Second Prank was in print, when 
DALEMAR was found guilty of infringing the copyright. 
They were sentenced to a fine DM 120,000 (an 
outrageously large sum of money then), to pulping the 
complete edition and to destroying the die cutters as well. 
That fine meant the end of the young publishing house in 
1949, not quite a year after the monetary reform. 

As a collector I view the end of the DALEMAR with 
conflicting emotions: on the one hand there is finally one 
area of collecting that can be completed; on the other hand 
it also means the end of hunting for missing pieces - 
arguably the most fun part of collecting. 

Finally, I would like to thank Frau Stanetzki for 
helping me so kindly and patiently with information and 
copies of the missing books. I would also like to thank my 
sisters: the first one generously agreed to translate from 
German into English even before seeing the text. Only 
after seeing it did she ring me up to complain about the 

difficulty or rather impossibility of the task - especially the 
patent part. She collects The 12 Days of Christmas - so if 
there is a "Partridge in a Peartree" among you, contact her: The second sister was 
"volunteered" for final proofing during a train journey on a 
visit from England, having qualified for the job by living 
there for 20 years. She does not collect anything in 

I would also like to thank any reader of this article who 
can add to the picture and help fill some of the gaps. I would 
be very pleased to get more information or inquiries: 

By the way, my attic emporium is fully re-established. 
New beams hold up the roof and I am surrounded again by 
my collection on its shelves. 


Thomas Fischer-Stumm, 
Spielbilderbuchern; Geschichte 
Darmstadt, 1989 

Papiertechnik in 
Struktur - Technik, 

The following website German/English is a treasure trove 
for those interested in patents: 

Der kleine Muck II. Deutschsprachige Kinderbucher 1945- 
1 959. [Muck II]. Muck, Thomas. Eigenverlag, Pulheim, Am 
Sonnenhang 10; 1990, 456 S. Paperback. 4000 
Eintragungen und 2129 z.T. farb Abb. (out of print) 

New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or advertising. All 
titles include pop-ups unless otherwise identified. 

Caterpillar Spring, Butterfly 
Summer. Readers Digest. 8 x 9". 
$12.99. 0-7944-0 149-x. 

Circus Surprise. Candlewick 
Press. 9'/2x9 l /2". $ 12.99. 



t UW.< GtiHtr-frilri P°pzl 

Elemenopee. Piggy Toes 
Press. 6 pages 11x8. 



, - mi 

3 9088 01629 3037